GDU Tilt/Swing Plate


Global Dynamics United makes the best looking compact tilt/swing plate I’ve seen. It’s simple and quick to use. The GDU Tilt 20 is designed to tilt 20 degrees up or down. You can use it bolted to a piece of plywood as a low hat, attached to a car mount, or just flat on the ground. read more…

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Teradek Sphere

Teradek Sphere

Teradek’s new Sphere is the core to monitoring a stitched 360 degree VR  quad HD stream wirelessly—without seeing yourself in the shot. It’s like VR Video Assist. Sphere also can do live web streaming of 360 VR content to compatible online platforms. read more…

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FUJIFILM X-T2 Still & 4K/UHD Camera


FUJIFULM North America today announced the newest in their interchangeable lens X-series cameras, the FUJIFILM X-T2. The X-T2 has received several significant improvements over the 2014 release of its predecessor, the X-T1, including a new 24.3MP X-Trans CMOS III SPS-C sensor, a large 2.36 million dot OLED viewfinder, and  4K (3840×2160) video with a .mov file type. The X-T2 also received a dramatic boost in its autofocus system, increasing the number of AF points to 325 (from 71 points in previous models), as well as expanding its Zone focusing points to 91 (from 49 in previous models). Like all FUJIFILM X-Series cameras, the X-T2 takes advantage of the large library of X-Mount lenses (17.7 mm flange depth) currently available for the system. The FUJIFILM X-T2 (body only) will be available in September 2016 in the U.S. for USD $1,599.95.The X-T2 and XF18-55mm (27-84mm) kit will be available in September 2016 in… read more…

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Interview With RED’s Jarred Land – Episode 2


This is Episode 2 of “Interviews with Jarred” about RED Digital Cinema, the state of the industry, large format, and more. Another sequel in this saga is inevitable. I expect Episode 3 will include more about RED Helium 8K S35 3.65 micron pixel sensors.

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Sony Full Frame FE 50mm F1.4 ZA Prime Lens

Sony FE 50mm 1.4

Sony Electronics has just introduced a new Planar T* FE 50mm F1.4 ZA lens with an E-mount. It’s part of the Sony/ZEISS strategic partnership that includes the 16-35mm F4, 24-70 F4, 16-70mm F4, 135mm F1.8, 55mm F1.8, 35mm F1.4, 35mm F2.8, 24mm F2, and 24mm F1.8 lenses. read more…

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LED Lens Projector & News From Chrosziel


Chrosziel introduced a new, cool, bright LED lens projector with remote focus capability. No more burnt fingers fumbling in the dark of a lens testing room at the rental house or lens repair facility. Chrosziel also has a new Handgrip Extender and Zoom Rocker. read more…

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“Film is Like a Colony”


Orson Welles said, “Film is like a colony and there are very few colonists. When America was wide open, with the Spanish at the Mexican frontier, the French in Canada, the Dutch in New York, you can be sure that the English would go to a place that was still unoccupied.” He was discussing wide lenses in 1958 Cahiers du Cinéma interviews. The Angénieux Retrofocus 18.5 mm lens was introduced in 1951. What he says sounds familiar today—finding new lenses to define new looks and stand out from the crowd. read more…

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Fujinon Lens Day In Hollywood at ASC


Tuesday May 24th was Fujinon Day in Hollywood, at the ASC Clubhouse.  It was an afternoon and evening to learn about lens design, technology, applications and Fujinon’s wide selection of PL mount zoom lenses. Workshops and panel discussions explored the creative, optical and budgetary considerations that are critical to modern optics design. Some of the topics, including objective and subjective differences, were: Flare Color Contrast Sharpness MTF Ramping Breathing Bokeh Resolution Pin Cushioning Barrel Distortion Field Flatness Chromatic Aberration Narcissism The ASC Board Room was converted into a Lens Projection room by the team from Duclos Lenses, using the cool, bright, new Chrosziel MK6 LED lens projector. Fujinon Premier and Cabrio Series lenses were examined in a continuous rotation.  It was an excellent opportunity for everyone to get a first-hand lesson on lens projection and what to look for. On a side note, lens  projection is standard issue at all lens manufacturers and almost all rental houses to help judge… read more…

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Brexit and Film Production


About Brexit, your broker is surely saying, “Keep calm, carry on, stay the course.” Sinking ships come to mind. Markets hate uncertainty. They also make big bad bets. So do bookies. Online British Betting websites have long been a favorite barometer for predicting Oscar winners and things like this. Not so fast. They were 70% sure that Britain would not exit. Hollywood Tycoons seem happy about the short-term benefits of a lower pound on blockbuster production at Pinewood. But what about rental and production companies in England who purchase equipment from Europe and elsewhere? And what of future EU co-production deals? FDT Friends and colleagues weighed in today. More will surely follow—to be added below. The New Yorker cover, above, was inspired by Monty Python’s “Ministry of Silly Walks.” The opinions in this article do not necessarily represent the positions of the companies these individuals run or work for.   Joerg Pohlman, Managing Director of ARRI: Politically a very regrettable… read more…


Creative Solutions Open House New York


Creative Solutions opened their doors on June 23rd in the new Greenpoint Creative Solutions Showroom at 190 West Street, Brooklyn, NY 11222. Mark Pederson (CEO / Co-Founder) and Aldey Sanchez (COO / Co-Founder)  hosted about 100 members of the New York production community. CSNY will provide rentals and sales of motion picture and television equipment. read more…

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Tiffen’s Steadicam LA 2016 Workshop

All hands on deck: Class photo

The Queen Mary Workshop, Long Beach, California, April 2016  by Chris Fawcett, inventor of the Steadicam Fawcett Exovest photos: Nadiya Rodkina Steadicam remains one of the strongest storytelling tools for cinematographers. There is no other way to move the camera that so closely replicates the human experience of vision. Its agility and ability to react instantly and move rapidly in space to control compositional elements is unrivalled. The Tiffen and Steadicam Operators Association (SOA) Gold Workshops are an intensive 5½ day program teaching all elements of Steadicam operation. From physics and theory to hands-on practice, students learn the lore, tricks and politics of “getting the shot” from master operators with up to 40 years of experience. Classes begin before breakfast with individual practice and continue long after dinner with lectures and demonstrations that cover every aspect of the art. Training starts with lighter rigs and quickly moves up to full-size production-ready… read more…

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First painting of a Movie Theater:
Sickert’s “The Gallery at the Old Mogul”


Christie’s will auction “The Gallery at the Old Mogul” on June 20th in London. The painting, by Walter Sickert, is one of the earliest paintings in the world of a theatrical projection in a movie theater. (The Old Mogul was not one of FDTimes’ oldest sponsors. It was a movie theater.) I have seen this painting in the home of the prominent film industry collector whose name I am not allowed to name.   Rachel Hidderly discusses “The Gallery at the Old Mogul.”   Video about the painting.   Summary from Christie’s catalog   “The Gallery at the Old Mogul” by WALTER RICHARD SICKERT, A.R.A. (1860-1942) signed ‘Sickert’ (lower left) oil on canvas 25 x 30 in. (63.5 x 67 cm.) Painted in 1906. £80,000-120,000 $120,000-170,000 €110,000-150,000 PROPERTY FROM A PROMINENT FILM INDUSTRY COLLECTION Lot 40, page 150 of catalog Walter Sickert’s The Gallery at the Old Mogul is thought to be one of the… read more…

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Ian Casas, Band Pro’s Key Grip


Ian S. Casas has joined Band Pro Film & Digital in Burbank as Product Manager in charge of sales and support for the Cinetech Italiana Dolly line and related grip products. Ian is an accomplished Hollywood Dolly Grip and Key Grip with numerous credits, including Anchor Man, Charlie’s Angels: Full Throttle and National Treasure. Cinetech Italiana Dollies are beautifully made in the company’s factory near Cinecitta, Rome. Capinera is the one. Lightweight (187 lb — easy to carry up stairs), compact, its arm booms up/down 32 in. Minimum height is 11 inches; maximum is 43 inches. For more information or demos, contac:  Ian.Casas (at) or call Ian Casas at  (818) 841-9655  

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ZEISS lens kit for iPhone


Now at the Apple Store: a wide-angle accessory lens kit by ZEISS and ExoLens. This is the first in an add-on lens set. The ExoLens with ZEISS Mutar 0.6x Asph T* wide-angle lens is available exclusively from Apple ($199.95). ZEISS and ExoLens are also planning to introduce tele and a macro-zoom lenses for the iPhone this summer. The ExoLens bracket attaches the ZEISS optics to the phone. It includes a standard  1/4”–20 tripod thread and cold shoe. Apple’s iPhone 6s has a native 4.15 mm F2.2 autofocus fixed lens that’s the 35mm format equivalent of 29 mm. The 12 MP sensor is ⅓” (4.89 x 3.67 mm) with 1.22 micron pixels. The Wide-Angle ZEISS Mutar 0.6x Asph T* wide-angle lens has an aspherical optical design and is practically distortion-free. Edge-to-edge contrast and quality are excellent. The 35 mm equivalent wide-angle focal length is 18 mm. Yes, you will now be able to shoot 4K video with interchangeable/adapter lenses on the iPhone. The  Longer ZEISS Mutar… read more…

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FDTimes in Translation, updated


Thursday, June 9. Ten luminaries of the Japanese cinema industry gathered high above the humid haze of Tokyo—in the New York Bar of the Park Hyatt Hotel. What better place than the bar location made famous by Lost in Translation. The conversation was unmistakably more animated than the squirmy, Pinteresque pauses of that movie. Our cast of characters consisted of manufacturing and rental house executives—ad hoc board members of Film and Digital Times Japan (FDTJ). This Dream-Team helps translate and plan our Japanese language editions. They were certainly not lost in translation or at a loss for words. The Dream-Team cast of characters included: Angenieux: Yasuhiko Mikami Blackmagic: Sachiko Arai Canon: Yoshi Onda Fujifilm: Keitaro So NAC : Yas Mitsuwa Panasonic: Sae Nakatani Sanwa: Masa Yasumoto Sigma: Shinji Yamaki Sony : Jin Yamashita (flew in directly from New York) ZEISS : Arato Ogura FDTimes: Jon Fauer After cocktails/happy hour/magic hour, the group descended from the breathtaking heights of the 54th floor New York Bar to… read more…

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Sigma and the Last Samurai


Sigma lenses are manufactured in Aizu, Japan. Almost every component, from tiny screws to large diameter front elements are made in-house. Aizu is 300 km north of Tokyo: two hours by high speed Shinkansen and then a scenic hour on a local railway. The train winds through high mountain passes and follows the foot of 5,968′ high Mt. Bandai. It looks like Sun Valley (3′ shorter) rising above jade-green rice paddies. The skiing in winter is superb, as is the sake from the many Aizu breweries that benefit from the pristine mountain water and plentiful rice. Lake Inawashiro, fourth largest in Japan, is a few miles away.     This is the land of the real-life last samurai, upon which part of the Ken Watanabe-Tom Cruise film was based. Tsuruga Castle in Aizu was one of the last holdouts, and in 1868 fell to Emperor Meiji’s troops. Many of Aizu’s families were exiled to northern Japan where they endured many years of  suffering. The story is… read more…

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Cine Gear 2016 Highlights


Here’s the first batch of Cine Gear 2016 photos. More to follow, along with text. read more…

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Panavision 8K Millenium DXL Camera


Thank you JetBlue for WiFi while flying from NY to LA today. The emails, news, specs and photos were flying in from Panavision during the trip. Introducing at Cine Gear Expo: the new Panavision 8K Millenium DXL Camera. The camera is a collaboration of Panavision, Light Iron (color science) and RED (8K sensor) — and the result is a Panavised (in the best sense of the word) ergonomic digital cinema camera. One of the big deals is the ability to record 8K RAW and 4K ProRes or Avid DNx files simultaneously. Here’s what we know so far — to be updated as more is learned: Sensor: 16-bit, 35.5 Megapixel CMOS Resolution of full sensor: 8192 x 4320 (probably windows to 4K) Maximum sensor size: 40.96 x 21.60 mm (Diagonal: 46.31mm), same as RED Weapon 8K. Dynamic Range: 15 stops Max Frame Rate: 60 fps at 8K Full Frame (8192 x 4320), 75 fps at 8K 2.4:1 (8192 x… read more…

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FDTimes at Cine Gear Booth 53A


Film and Digital Times returns to Cine Gear Expo 2016. We’ll be in our usual location: Booth 53A in the New York Streets (between Preston Cinema and Bright Tangerine). Pick up a free copy of Issue 75. Café Society is on the Cover. It will be screened on Friday evening in the Paramount Theater at 7pm, followed by a Q&A with Vittorio Storaro and Jon Fauer. read more…


Angénieux 2016 Excellens at Cannes


For the fourth year in a row, Angenieux honored a Cinematographer at the Cannes Film Festival.

Peter Suschitzky, ASC received the Pierre Angénieux 2016 Excellens in Cinematography Award   on May 20th 2016 at the Bunuel Theater in the Cannes Palais des Festivals. Cannes officially aligns itself with stars and auteurs. Angenieux honors the Cinematography. Precious recipients of the lifetime achievement award named after company founder Pierre Angenieux have been Philippe Rousselot, ASC, AFC in 2013; Vilmos Zsigmond, ASC, HSC in 2014 and Roger A. Deakins, ASC, BSC in 2015. read more…